We can consider the sculptural decoration of first Czechoslovak Republic's administrative buildings to be one of the typical manifestations of its time. In its iconography it translated to its contemporaries, as well as to the future generations, the basic ideological motives which the representative, artists and major part of the society considered to be the most important for the existence of the young democratic state. Their message is so clear that even today it can be understood. This thesis discusses in the first chapter the roots of basic iconographical circles (labor, working people) in the Czech art of the end of 19th and beginning of 20th century. Afterwards it focuses on the wider conditions of European art leading to the growing interests in realistic, neo-classical art and new objectivity. Following parts are aimed on arrival of civilism into the Czech interwar art scene and discuss the terms social art, social realism and social civilism and its possible use in the scope of sculptural decoration of administrative buildings. Then continues the overview of the most important iconographical motives which penetrated into the field of the sculptural decoration with special focus on the Czechoslovak pavilion at the International exhibition of decorative arts in Paris 1925. The following...

The main goal of the thesis is a thorough description of the outer stone sculptural decoration of the Old Town Hall (taking into consideration the Hall's entrance portal and moulding of the window with Vladislav's initial), its iconographic analysis and creating the photo documentary. In addition the thesis documents the possible style paralels of this decoration in Czech and European art of the Late Gothic period in witch case it focuses on naturalistic element. This very study of possible style paralels becomes the foundation for the attepmt to narrowing down the radius of potantial authors of this creation and it helps to uncover its symbolic meaning.

Ce travail de recherche doctorale tend à définir précisément ce que j’appelle une situation sculpturale, en envisageant le médium de la sculpture, historiquement immobile et pérenne, comme le médium de la rencontre tributaire de temporalités diverses. Pour ce faire, ma pratique plastique a été mon terrain premier d’investigation, au sein duquel j’ai pu tester un certain nombre d’hypothèses, dont certaines se sont concrétisées dans mes sculptures les plus récentes, citées dans ce texte. Aussi, une attention particulière à la sculpture contemporaine m’a permis d’ouvrir plus largement mes prospections, qui se sont aussi nourries de pratiques d’artistes et de pensées théoriques historiques. Mes recherches se sont appuyées sur l’étude du rapport que la sculpture peut entretenir avec la vie quotidienne, et les rapports particuliers au temps que cela peut engendrer, aussi bien dans la conception des œuvres, que dans leur perception. Cette réflexion m’a permise d’aborder la sculpture dans son rapport aux objets du quotidien, que ce soit dans leur introduction directe dans les sculptures, dans leur reproduction, mais aussi dans l’usage. En effet, ce dernier point m’a amenée à établir une typologie de ce que je nomme la sculpture d’usage, dont la fonctionnalité n’est pas la finalité, mais une appréhension possible de l’œuvre. / This doctorate research tries to define precisely what I term a sculptural situation considering sculpture – ie historically still & perennial – as the meeting point of multiple temporalities. To elaborate this research I took my artistic pratice as a ground to inquire into. I did test several assumptions which have informed my latest works thereafter described. Furthermore, a greater attention was given to contemporary sculpture so as to open wider perspectives drawn from historical artistic practives & theories. I studied the relationship between sculpture & daily life and most specifically their being time-based experiences, as much during the making of the works as when perceived by a spectator. I was then able to study sculpture in relation to everyday objects : either through the introduction of the later in sculptures themselves or their possible reproduction or even the use that can be made of them. I thus established a typology of what I name usable sculpture, whose functionality is not an end in itself but is nevertheless a possible way of experiencing the work of art.

[ES] Esta tesis doctoral tiene por objetivo general expandir la escultura quiteña (de la ciudad de Quito), normalmente supeditada a convencionalismos sociales ampliamente difundidos y al conservadurismo académico local, ambos mayormente centrados en la noción de monumento. Para ello se ha desarrollado un proceso investigativo y creativo en bucle, definido en los objetivos específicos programados, a partir de los fundamentos teóricos, históricos, técnicos y tecnológicos de la escultura cinética, incluyendo la mención de sus principales practicantes, extranjeros y locales; así como de los conceptos de mediación, juego y público, y los recursos relacionados a estos, aplicados y aplicables a la escultura. De allí se ha establecido un método creativo para el diseño de las obras cinéticas propuestas. Método que se alimenta tanto del campo específico del arte como de otras disciplinas estudiadas; y que posibilita la creación de obras escultóricas cinéticas en acero estructural, sistematizando y documentando su proceso creativo. Finalmente, se ha evaluado la interactividad generada entre las esculturas realizadas y el público de las mismas. Con todo ello, cual objetivo superior, esta investigación-creación aspira a contribuir al campo del arte local proporcionando nuevas perspectivas y prácticas escultóricas mediante la inserción, cual intervención social en la esfera académica quiteña, de la escultura cinética corporal y semánticamente interactiva. / [CA] Aquesta tesi doctoral té per objectiu general expandir l'escultura quiteña, normalment supeditada a convencionalismes socials ámpliament difosos i al conservadorisme acadèmic local, tots dos majorment centrats en la noció de monument. Per a això s'ha desenvolupat un proce's d'investigació i creatiu en bucle, definit en els objectius específics programats, a partir dels fonaments teòrics, històrics, tècnics i tecnològics de l'escultura cinètica, incloent-hi l'esment dels seus principals practicants, estrangers i locals; així com dels conceptes de mediació, joc i públic, i els recursos relacionats a aquests, aplicats i aplicables a l'escultura. D'alli' s'ha establert un métode creatiu per al disseny de les obres cinètiques proposades. Mètode que s'alimenta tant del camp específic de l'art com d'altres disciplines estudiades; i que possibilita la creació d'obres escultòriques cine¿tiques en acer estructural, sistematitzant i documentant el seu procés creatiu. Finalment, s'ha avaluat la interactivitat generada entre les escultures realitzades i el públic d'aquestes. Amb tot això, com a propòsit superior, aquesta recerca-creació aspira a contribuir al camp de l'art local proporcionant noves perspectives i pràctiques escultòriques mitjancant la inserció, com intervenció social en l'esfera acadèmica quiteña, de l'escultura cinètica corporal i semànticament interactiva. / [EN] The general objective of this doctoral thesis is to expand the sculpture in Quito, normally conditioned by widely diffused social conventions and local academic conservatism, both mostly centered on the notion of monument. For this, a looping investigative and creative process has been developed, defined in the specific programmed objectives, based on the theoretical, historical, technical and technological foundations of kinetic sculpture, including the mention of its main practitioners, foreign and local; as well as the concepts of mediation, game and public, and the resources related to these, applied and applicable to sculpture. From there, a creative method has been established for the design of the proposed kinetic artworks. Method that feeds both on the specific field of art and on other studied disciplines; and that enables the creation of kinetic sculptural works in structural steel, systematizing and documenting their creative process. Finally, the interactivity generated between the sculptures and their public has been evaluated. With all this, as a higher objective, this research-creation aspires to contribute to the field of local art by providing new perspectives and sculptural practices through the insertion, as a social intervention in the Quito academic sphere, of kinetic and semantically interactive corporal sculpture. / García Moreno, MF. (2023). Escultura cinética en acero estructural. El movimiento como agente mediador entre obra de arte y espectador. Caso Quito-Ecuador [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/192893

My sculptural installations aim to elicit a sense of optimism and possibility through form, color, and mode of display. The work subverts the symbolic order by repurposing everyday forms and objects, allowing us to see the familiar as new, and thereby awakening us to what may be possible to formulate a better, more beautiful, more universally connected order.

The significance of Yesemek Stone Quarry and Sculptural Workshop in Gaziantep Islahiye province is rooted in its basalt quarry and stone sculptures found at the site. Yesemek was first discovered by Felix Von Luschan in 1890 while he was excavating Zincirli (Sam&rsquo / al). Between 1958 and 1961, the site was excavated by a team under the leadership of Prof. Dr. Bahadir Alkim. The excavations at the site yielded approximately three hundred finished or unfinished lion, sphinx and mountain god sculptures. While the exact function of these sculptures are still not known, the thesis will explore the function of these sculptures by examining the architectural structures where the sculptures could have been used as architectural decoration. Another issue that will be discussed in the thesis is the date of Yesemek workshop and sculptures. To that end, Yesemek sculptures will be stylistically compared to Late Bronze and Iron Age sculptures.

No description available.

This graduate report is a description of my artistic development through the graduate program at the University of Texas at Austin. It records my development and growth as an artist in relationship to the concepts, materials, and processes I have been investigating and exploring in the past three years. The graduate report focuses on three important concerns to which I’ve been dedicated. First, materials are imperative to my work. I physically collect and use my father’s ordinary objects and transform them with raw materials, such as clay, flour, honey, chocolate, beeswax, and petroleum jelly. The decision of choosing raw materials is based on my personal and cultural experiences. I am particularly interested in exploiting raw materials because I believe these raw materials can trigger a particular memory, place, or relationship that I want to preserve and remember. Second, my process of making involves ritualistic aspects with repetitive acts. I believe that everyday practices are a way of reconstructing relationships and remembering home. I am interested in embracing emotional attributes that may be simple activities: spraying a piece daily to keep it wet or sewing a personal object until it is impossible to sew. Finally, through the relationship among the objects, repeated actions, and an anticipation that evokes magical power and charged energy, I methodically transform objects. I do this to celebrate emotions and to preserve not only these personal objects but also my memories of home. / text

The master thesis is a research about the relationship between memorials and light. It first studies the characteristics of cultural memories and tries to find what the advantages of using lighting as a means of commemoration are. The nowadays memorials are very different compared to the traditional monuments and they should include a changing narrative, treating local and universal messages. They should involve the public.A contemporary memorial is ephemeral and continuously changing- the same as light is.A series of contemporary memorials have been selected to understand the tools that makes them successful. Furthermore, it was analyzed how these parameters could be achieved through light. 12 memorials that use light as an eloquent tool have been interpreted according to certain criteria.The second part of the thesis is an applied project related to the events that happened in Timisoara, Romania, in 1989 during the anticommunist Revolution. The process of creating memorials for Timisoara is a key focus of the study. The development is equally important as the end result. It searches for the significant messages and lessons of the event. Testimonials of the participants to the revolution have been studied. Interviews and questionnaires have been developed. Following this, significant places in the city and messages were chosen. The research will conclude with a lighting installations project proposal.

[ES] La talla es uno de los procesos escultóricos más antiguos. Se trata de una técnica sustractiva en la cual, partiendo de una masa sólida, se da forma a la materia mediante el corte, cincelado o abrasión. Este medio, que se popularizó en el pasado y fue preferido por artistas como Fidias, Miguel Ángel, Brancusi o Barbara Hepworth, implica un proceso lento y laborioso, un desarrollo pausado. Es, en este sentido, un quehacer disonante en el contexto social actual, cuyo modo de vida, rápido y agitado, no lo asumiría con naturalidad en el sistema artístico. Y su uso, en el arte de hoy, ha decaído hasta condicionarlo con la expresión "estar pasado de moda". Esta investigación analiza, desde aproximaciones cuantitativas y cualitativas, lo que se configura como un corpus documental para presentar una guía de artistas contemporáneos, cuyas poéticas siguen mostrando el protagonismo de este tipo de procedimiento escultórico. De este modo, intentamos argumentar razonadamente que no solo resiste al paso del tiempo, sino que ha logrado adaptarse a nuestro contexto creativo actual. / [CA] La talla és un dels processos escultòrics més antics. Es tracta d'una tècnica subtractiva en la qual, partint d'una massa sòlida, es forma la matèria mitjançant el tall, el cisellat o l'abrasió. Aquest mitjà, que es va popularitzar en el passat i que va ser el preferit d'artistes com Fídies, Miquel Àngel, Brancusi o Barbara Hepworth, implica un procés lent i laboriós, això és, un desenvolupament pausat. En aquest sentit, és una tasca dissonant en el context social actual, atés que, la manera de viure actual, ràpida i atrafegada, no ho assumiria amb naturalitat en el sistema artístic. A més, el seu ús, actualment, ha decaigut, fins al punt d'haver estat etiquetada com una tècnica "passada de moda". En aquesta investigació s'analitza, des d'aproximacions quantitatives i qualitatives, el que es configura com un corpus documental, per tal de presentar una guia d'artistes contemporanis, les poètiques dels quals segueixen mostrant el protagonisme d'aquest tipus de procediment escultòric. D'aquesta manera, intentem argumentar raonadament que aquesta tècnica no sols resisteix al pas del temps, sinó que ha aconseguit adaptar-se al context creatiu actual / [EN] Carving is one of the oldest sculptural processes. It is a subtractive technique through which starting from a solid mass the material is shaped by the cutting, the chiseling or the abrasion. This means, which became very popular in the past and which was preferred by artists such as Phidias, Michelangelo, Brancusi or Barbara Hepworth, involves both a slow and laborious process and also a measured development. According to this, it is a dissonant work in the contemporany social context, whose fast and hectic lifestyle would not assume it as a natural issue into the artistic system. Moreover, its use in today's art has declined such an extent that these days it is considered as"out of fashion". This research analyses what it is configurated as a documentary corpus from both qualitative and quantitative approaches, in order to introduce a guide of contemporary artists whose poetics go on showing the importance of this kind of sculpture technique. In this way, we are trying to argue thoughtfully that it has not only resisted the passage of time but it has also been able to adapt it to our current context. / Samo Terrasa, A. (2022). La talla en el mercado del arte en Europa Occidental. Una revisión de la actualidad (2018-2020) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/189152